"The fact that he always shot his films without sound and composed his soundtracks separately made it easier for him to use images and sounds interactively, employing sound in part as a way of guiding how we look at his images, by stimulating and directing our imaginations. This means that any discussion of Tati’s mise-en-scene has to cope with the reality that he effectively directed each of his films twice—once when he shot them and then once again when he composed and recorded their soundtracks. Adding sound often served as a way of “retouching” his images by directing our eyes, sometimes by complicating or even undermining the visual evidence. French film analyst Michel Chion has suggestively pointed out, for example, that if we listen to one of the naturalistic beach sequences in Monsieur Hulot’s Holiday without the image to “mislead” us, the apparent boredom, discomfort, and inertia of adult vacationers trying to figure out what to do become the sound of lively children enjoying themselves." - Jacques Tati: Composing in Sound and Image By Jonathan Rosenbaum

"...what really disturbs us, at the very moments when the film is at its most disturbing, are the eerie electronic noises that creep around the edges of Auric’s lush impressionistic score. These noises, though unmentioned in the film’s credits, were created by Daphne Oram...If the electronic noises in The Innocents are the sound of encroaching madness, Oram has prior form. Oram once compared, in her only published book, An Individual Note, the descent into madness with a kind of psychic feedback loop, an overloading ‘through having too high a playback volume’. It is in precisely this way, the echo of feedback overloading, swelling to the point of distortion, that she created many of the chilling sound effects for The Innocents." - Something Secretive, Whispery and Indecent by Robert Barry